Metatextual playfulness is present in a lot of the media I’ve consumed, but this trilogy deploys it with such empathy and... wholesomeness? An honesty about how films are false and true at the same time? A breath of fresh air.
“It’s only a camera!”
This is wildly ahead of its time, by at least 10 years if not 25, anticipating the giallo and the slasher, even leaping over those to remind me of the more empathetic moments of Henry: A Portrait of a Serial Killer and Schramm, and the ways it is of its time make it stand out from the pack even more.
There are horror movies one recommends to everyone, and there are ones that one recommends only to those who feel like they’ve already seen everything there is to see and are still searching for more. This bleak, often gross, grungy and mostly sad film falls firmly into the second pile, bolstered by a fantastic Goblin score. Could be the “fun” picture in a double feature with Nekromantik.